Definitely one of the more disappointing films of 2008. None of the performances really stood out (Viola Davis’ 5 minutes on-screen enough wasn’t nearly enough to wow me), the direction was bland to say the least (perhaps Shanley should stick to writing), and even the incredible Roger Deakins couldn’t manage to give the film some visual flair. All-in-all, I would label this film as a failure in nearly every aspect minus writing (although I realize I’m quite outspoken on that point).
Punch-Drunk Love – Jon Brion
Synecdoche, New York – Jon Brion
There Will Be Blood – Johnny Greenwood
O Brother Where Art Thou – T-Bone Burnett
Pan’s Labyrinth – Javier Navarette
1. Where the Wild Things Are (Spike Jonze)
2. The Road (John Hillcoat)
3. Broken Embraces (Pedro Almodovar)
4. Antichrist (Lars Von Trier)
5. Inglorious Basterds (Quentin Tarantino)
I have to say that i think that both of those films represent the finest work as of yet from their respective directors, hands down.
I suppose that’s quite open to debate, but i really see a lot of great thing in these films, especially THERE WILL BE BLOOD, which takes the cake as best film of the decade so far in my book.
“Furthermore, I think that Youth without Youth is what gave Paramount and company the idea to make the Fitzgerald short story into a film.”
Actually, it has been a 20+ year struggle to bring TCCoBB to the screen. There have been various pairs of directors and screenwriters attached to the project going back to the late 80s and there had been serious interest in adapting the story long before that. So, if anything, the short story was an inspiration for Youth Without Youth, definitely not the other way around.
As much as i have had problems with Cameron’s earlier films, he really seems to be ahead of the curve with Avatar. There are a lot of big names (Spielberg, Peter Jackson, Soderbergh, etc.) that have called his methods of direction in Avatar “the future of film-making.”
So, needless to say, I’m excited to see how the final product turns out.
See all of P.T. Anderson’s films for examples of the above … even if it isn’t explicitly clear, MAGNOLIA is a film about what it means to be a father / parent and the results of parental abuse and abandonment.
Even in BOOGIE NIGHTS a clear father/son relationship develops between director and actor … just some food for thought.
Honestly, you’re never going to be able to form a club that can make the average high school kid want to sit through a silent film.
My suggestion: stick with great examples of recent cinema (foreign or not), things that they might have heard of, and save 8 1/2 and The 400 Blows and Metropolis for kids who show extra interest. That way you are teaching a lot of kids about the art of film, and you have the opportunity to expose the ones who show real interest to some of the greats.
From the trailers and early buzz from sundance, MOON looks like it could end up as one of the best films of the year, and it will be playing at the Seattle International Film Festival (along with TETRO) in 3 weeks!
You’re dead-on in your diagnosis of the film, except that you are strongly underestimating the film’s flaws. The inconsistent pacing and lazy scripting nearly ruin the film for me, in spite of excellent direction and visuals. In fact, the things that you brush off as unimportant provide the foundation for a great film (namely, solid writing and effective editing). With these two categories coming in at less than average, the end result can be no better than mediocre.
So, you are absolutely right in pointing out the film’s obvious bright spots, but it is only fair to give equal attention to it’s numerous flaws.
It’s insane to put Anderson’s characters into boxes of “good” and “evil.” That is a HUGE disservice to the strength of this script and the growth of Plainview’s character throughout the film. He starts out as driven, but seemingly grounded by his relationship with his son, HW. But the loss of HWs hearing represents a serious schism in their relationship. Daniel’s ambition only grows, but can never communicate with his son in the same way. He has nothing left to hold onto, and spirals out of control until whatever may have once been “good” inside of him is shrouded by greed. He is not fundamentally good or evil, nor is any character Anderson has ever created. His characters are a combination of certain fundamental character traits, but are ultimately shaped by their environments and the events that Anderson throws their way. In short, they are complicated, and ultimately real characters. There are no “good guys” and “bad guys,” there may not even be moral weight applied to his characters actions. Don’t oversimplify the work of a genius.
@AHNMIN LEE
If there was ANY evidence, WHATSOEVER, for Daniel wanting a friendly relationship with Eli, then your interpretation would probably hold some water. But there isn’t. So, it doesn’t.
@LAW MAP
I couldn’t agree more!! The allegorical storytelling (e.g. religion vs Capitalism) should not be highlighted as the “point” of the film, but used to inform interpretations of Anderson’s development of character. Everyone is too wrapped up in unraveling layers of this film that simply aren’t there. Not to disservice the complexity of the film — it is, to my mind, the best film of the decade, so far — but there is only so far one can go.
Best film of the year so far!! And while i made the obvious connection to the Book of Job, the bit about God speaking from a whirlwind really brings a lot of the film together. But is isn’t God speaking from the tornado at the film’s end. It is the Coen’s. And they aren’t offering any easy explanations either.
1. Fanny and Alexander (Bergman)
2. Apocalypse Now (Coppola)
3. There Will Be Blood (Anderson)
4. The Godfather, Part II (Coppola)
5. A Clockwork Orange (Kubrick)
6. The Seventh Seal (Bergman)
7. Stalker (Tarkovsky)
8. Taxi Driver (Scorsese)
9. A Prophet (Audiard)
10. 8 1/2 (Fellini)
11. 4 Months, 3 Weeks, and 2 Days (Mungiu)
12. Dr. Strangelove (Kubrick)
13. Lost in Translation (S. Coppola)
14. Solaris (Tarkovsky)
15. Hannah and Her Sisters (Allen)
16. Eternal Sunshine of the Spotless Mind (Gondry)
17. The Social Network (Fincher)
18. Citizen Kane (Welles)
19. Bad Education (Almodovar)
20. Raging Bull (Scorsese)
What 2008 film deserves the Criterion treatment? about 3 years ago
1. Synecdoche, New York
2. Let the Right One In
3. Waltz with Bashir
It is truly a shame that Charlie Kaufman is, as of yet, unrepresented in Criterion’s library.
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What 2008 film deserves the Criterion treatment? about 3 years ago
1. Synecdoche, New York
2. Let the Right One In
3. Waltz with Bashir
It is truly a shame that Charlie Kaufman is, as of yet, unrepresented in Criterion’s library.
Go to Comment
Doubt about 3 years ago
Definitely one of the more disappointing films of 2008. None of the performances really stood out (Viola Davis’ 5 minutes on-screen enough wasn’t nearly enough to wow me), the direction was bland to say the least (perhaps Shanley should stick to writing), and even the incredible Roger Deakins couldn’t manage to give the film some visual flair. All-in-all, I would label this film as a failure in nearly every aspect minus writing (although I realize I’m quite outspoken on that point).
Go to Comment
The Most beautiful scores in cinema about 3 years ago
Punch-Drunk Love – Jon Brion
Synecdoche, New York – Jon Brion
There Will Be Blood – Johnny Greenwood
O Brother Where Art Thou – T-Bone Burnett
Pan’s Labyrinth – Javier Navarette
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Who do you think the most overrated director is? about 3 years ago
How about Robert Zemeckis and Paul Haggis???
Zemeckis has made some of the most overrated movies in the history of American Cinema, with Forrest Gump sitting securely at the top of that list.
… and Paul Haggis simply enjoys beating his audience over the head with his own somewhat narrow-minded point of view.
They both suck, big time.
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Best biographical movies about 3 years ago
Raging Bull. Period. Hands Down.
Yes, it’s cliche. But with damn good reason.
(I’m Not There and The Diving Bell and the Butterfly are also notable)
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who is the greatest living filmmaker? about 3 years ago
Greatest Living Filmmaker – Jean-Luc Godard
Greatest Working Filmmaker – Paul Thomas Anderson. Hands Down.
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The Greatest Film of the 2000s about 3 years ago
THERE WILL BE BLOOD!
RUNNERS UP: THE ROYAL TENENBAUMS and BROKEBACK MOUNTAIN
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Your favorite films that *did* win best picture Oscar about 3 years ago
THE GODFATHER, PART II
ANNIE HALL
AMERICAN BEAUTY
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What Film Are You Most Looking Forward To In 2009? about 3 years ago
1. Where the Wild Things Are (Spike Jonze)
2. The Road (John Hillcoat)
3. Broken Embraces (Pedro Almodovar)
4. Antichrist (Lars Von Trier)
5. Inglorious Basterds (Quentin Tarantino)
Go to Comment
Anybody notice that the Curious Case score is a total rip off about 3 years ago
It’s difficult to say that TCCoBB “stole” its plot from Forest Gump, considering that they were both written by the same person.
Lazily re-hashed seems more accurate to me.
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Directors at a change of pace...for better or for worse. about 3 years ago
I have to say that i think that both of those films represent the finest work as of yet from their respective directors, hands down.
I suppose that’s quite open to debate, but i really see a lot of great thing in these films, especially THERE WILL BE BLOOD, which takes the cake as best film of the decade so far in my book.
Go to Comment
Anybody notice that the Curious Case score is a total rip off about 3 years ago
“Furthermore, I think that Youth without Youth is what gave Paramount and company the idea to make the Fitzgerald short story into a film.”
Actually, it has been a 20+ year struggle to bring TCCoBB to the screen. There have been various pairs of directors and screenwriters attached to the project going back to the late 80s and there had been serious interest in adapting the story long before that. So, if anything, the short story was an inspiration for Youth Without Youth, definitely not the other way around.
Go to Comment
What Film Are You Most Looking Forward To In 2009? about 3 years ago
@KJ
As much as i have had problems with Cameron’s earlier films, he really seems to be ahead of the curve with Avatar. There are a lot of big names (Spielberg, Peter Jackson, Soderbergh, etc.) that have called his methods of direction in Avatar “the future of film-making.”
So, needless to say, I’m excited to see how the final product turns out.
Go to Comment
The Greatest Film of the 2000s about 3 years ago
Forgot to include SYNECDOCHE, NEW YORK
Kaufman’s best screenplay so far and destined to gain a better reputation with time!
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Who do you think the most overrated director is? about 3 years ago
@Alex:
While i disagree about Blade Runner, i’ll agree 110% that Ridley Scott is horribly over-rated, having not made a decent film since.
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Films About Fathers about 3 years ago
See all of P.T. Anderson’s films for examples of the above … even if it isn’t explicitly clear, MAGNOLIA is a film about what it means to be a father / parent and the results of parental abuse and abandonment.
Even in BOOGIE NIGHTS a clear father/son relationship develops between director and actor … just some food for thought.
Go to Comment
High School Film Club: Please Post! about 3 years ago
Honestly, you’re never going to be able to form a club that can make the average high school kid want to sit through a silent film.
My suggestion: stick with great examples of recent cinema (foreign or not), things that they might have heard of, and save 8 1/2 and The 400 Blows and Metropolis for kids who show extra interest. That way you are teaching a lot of kids about the art of film, and you have the opportunity to expose the ones who show real interest to some of the greats.
Go to Comment
What Film Are You Most Looking Forward To In 2009? about 3 years ago
From the trailers and early buzz from sundance, MOON looks like it could end up as one of the best films of the year, and it will be playing at the Seattle International Film Festival (along with TETRO) in 3 weeks!
CAN’T WAIT!
Go to Comment
Such a fantastic film almost 3 years ago
Jon,
You’re dead-on in your diagnosis of the film, except that you are strongly underestimating the film’s flaws. The inconsistent pacing and lazy scripting nearly ruin the film for me, in spite of excellent direction and visuals. In fact, the things that you brush off as unimportant provide the foundation for a great film (namely, solid writing and effective editing). With these two categories coming in at less than average, the end result can be no better than mediocre.
So, you are absolutely right in pointing out the film’s obvious bright spots, but it is only fair to give equal attention to it’s numerous flaws.
Go to Comment
can you name a truly great american film in the last 5 years... almost 3 years ago
THERE WILL BE BLOOD
SYNECDOCHE, NEW YORK
BROKEBACK MOUNTAIN
Go to Comment
There will be blood - the end over 2 years ago
@LANCE
It’s insane to put Anderson’s characters into boxes of “good” and “evil.” That is a HUGE disservice to the strength of this script and the growth of Plainview’s character throughout the film. He starts out as driven, but seemingly grounded by his relationship with his son, HW. But the loss of HWs hearing represents a serious schism in their relationship. Daniel’s ambition only grows, but can never communicate with his son in the same way. He has nothing left to hold onto, and spirals out of control until whatever may have once been “good” inside of him is shrouded by greed. He is not fundamentally good or evil, nor is any character Anderson has ever created. His characters are a combination of certain fundamental character traits, but are ultimately shaped by their environments and the events that Anderson throws their way. In short, they are complicated, and ultimately real characters. There are no “good guys” and “bad guys,” there may not even be moral weight applied to his characters actions. Don’t oversimplify the work of a genius.
@AHNMIN LEE
If there was ANY evidence, WHATSOEVER, for Daniel wanting a friendly relationship with Eli, then your interpretation would probably hold some water. But there isn’t. So, it doesn’t.
@LAW MAP
I couldn’t agree more!! The allegorical storytelling (e.g. religion vs Capitalism) should not be highlighted as the “point” of the film, but used to inform interpretations of Anderson’s development of character. Everyone is too wrapped up in unraveling layers of this film that simply aren’t there. Not to disservice the complexity of the film — it is, to my mind, the best film of the decade, so far — but there is only so far one can go.
Go to Comment
A SERIOUS MAN (JOEL AND ETHAN COEN, 2009) over 2 years ago
Best film of the year so far!! And while i made the obvious connection to the Book of Job, the bit about God speaking from a whirlwind really brings a lot of the film together. But is isn’t God speaking from the tornado at the film’s end. It is the Coen’s. And they aren’t offering any easy explanations either.
Go to Comment
The MUBI Forum User's Top 20 Movie List, Curated by DIB 8 months ago
1. Fanny and Alexander (Bergman)
2. Apocalypse Now (Coppola)
3. There Will Be Blood (Anderson)
4. The Godfather, Part II (Coppola)
5. A Clockwork Orange (Kubrick)
6. The Seventh Seal (Bergman)
7. Stalker (Tarkovsky)
8. Taxi Driver (Scorsese)
9. A Prophet (Audiard)
10. 8 1/2 (Fellini)
11. 4 Months, 3 Weeks, and 2 Days (Mungiu)
12. Dr. Strangelove (Kubrick)
13. Lost in Translation (S. Coppola)
14. Solaris (Tarkovsky)
15. Hannah and Her Sisters (Allen)
16. Eternal Sunshine of the Spotless Mind (Gondry)
17. The Social Network (Fincher)
18. Citizen Kane (Welles)
19. Bad Education (Almodovar)
20. Raging Bull (Scorsese)
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